Film Analysis Of Django Unchained By Quentin Tarantino

Django Unchained is an American film produced by Quentin Tarantino and released in December of 2012. Set in down South of American in late 1858, The story line was before the American civil war. The plot line was like any other pre-civil war movie that involved the buying and selling of African American, but with an ultimate twist like no other movies set in this timeline. Tarantino offers a story of bloody revenge that seems entirely justified because of the atrocities inflicted on the hero. At last, Django Unchained is less a requital show, but rather more, it is a revenge fantasy because Django is an anecdotal character with no conceivable real-life counterpart. The reason I could be so affected by a film that offers such a fantastical story

The scene depicts slaves’ utter lack of agency and autonomy. Django futilely begs the master for Broomhilda not to be scarred with a whipping, which will render her ineligible to be a domestic slave in the future, consigning her to the fields. This specific scene helps me to remember how my uncle gets me up each morning and whips me for reasons unknown by any means. When I ask why he always says I am being whipped for the sins, I committed during the day while he was at work. I could identify with this scene as a result of what I had experienced with my uncle while growing up. The twisted psychology of the slave-owner, played by Bruce Dern, is presented in extreme close-up. Dern has had a long career playing psychos for the most part, but his character in Django Unchained, Old Man Carrucan, is arguably his most frightful role. Carrucan is not apathetic to Django’s plea that Broomhilda remains unscarred, and he takes obvious delight in denying the begging man and seeing Broomhilda (and Django) maimed. At a certain point, it appears as though Carrucan reluctantly appreciates Django, when he tells the slave, “You got sand, boy.” This apparent admiration is instantly revoked, though, as Carrucan continues; “I got no use for a nigger with sand.” He orders that Django is sold separately from his wife, and

Tarantino uses extreme close-ups of both Jamie Fox and Bruce Dern throughout the brief flashback sequence shown in the movie. It is evident why Tarantino cast as distinguished an actor as Bruce Dern in what is effectively a bit part. Dern’s eyes alone, even hidden behind tinted glasses convey at a glance the power over other’s very existence enjoyed by slaveholders. His iconic face and voice, so well-known from movies over the last 50 years, gives an indelible image of those who believed it was right and good nature for one race of man to possess another. Carrucan behaves in a cruel manner, but he is not a monster; he is merely a man, but an entirely repellant one. In Old Man Carrucan’s wrinkled face, I could begin to see the mindset that must have been common among slave-owners. An institution as grotesque as slavery did not develop and flourish solely because of societal indifference; it required intentional evil which can only be birth from two sources, greed, and power. The character of Carrucan, as well as the long-established persona of Bruce Dern characters, shows an example of said intentional